And the stilted feeling when going from Kendrick Lamar to his guests loses some of the magic. But this album is a statement from Kendrick, from the semi-surprise release to the content to its connection to To Pimp A Butterfly. Jay Rock and Punch certainly feel at home with Kendrick, and appearances from Cee Lo Green and Thundercat boost their respective songs to livelier conclusions. However, none of the appearances from guests is enough to condemn the songs on the whole. And it is clear that Kendrick has surpassed his contemporaries. The drums added to “untitled 3” strip the ambience from the track, muddying the ultimate climax that was first premiered on The Colbert Report. Some moments that have only existed on stage have lost their virility. This is the Kendrick that we haven’t seen since 2013, lyrically pinpointed and without hesitation.īut that doesn’t mean this album completely covers its tracks as an album of demos. Even with his usual humanity, he pierces further than normal, staying on the mind. Later on over the crashing cymbals of “untitled 05”, Kendrick thinks of splattering the brains of a man. What feels like showing off is coupled with dystopian production. This simple combination is completely blown away with Kendrick’s third verse, where his words are hollow-points, calling out and immediately killing those who oppose himself. The second track combines the fluttering pianos and saxophones with the rattling drums coopted from the contemporary. The molten flourishes of spontaneity are the signs of a genius proving his genius. These songs and moments obviously wouldn’t have fit with the triumph that was To Pimp A Butterfly, but altogether they offer a a streamlined and voltaic portrait of the rapper Kendrick could be. Expanding on the themes without ever retreading old territories, Kendrick Lamar pieced together his darkest album. Instead of pretending to be the demos they are, these songs and moments that constantly fluctuate, running tangentially to the ideals of To Pimp A Butterfly. These motifs become the rhapsodic core to untitled unmastered. But just before it ends, the nightmare regresses into a sultry melody that’s eerily calm and a powerful voice prophesies that before the world ends, make sure to count your blessings and repent. The backing bass lines rumble with muted calamity, the sparse pianos and constant sirens are reminders of the always looming danger in the world. This level of dark turmoil is something Kendrick has never fully preached and the production feels equally distressed. The opening track is Judgement Day there are preachers raping children, there are murders, there are suicides, and there is destruction. Social issues aren’t given the personal injection that Kendrick feels rather, he flies over them at rapid-fire speed like a passenger to a worldwide struggle. The arc of the characters is what gives all three of these releases a literary component and lasting power, but with untitled unmastered., Kendrick has distanced himself from his storytelling capability. city, or To Pimp A Butterfly, and it’s obvious that there is a glow of positivity that mingles with personal demons. illustrates an often overlooked component of Kendrick’s career. And even comparing it to the streak of studio albums he’s had, untitled unmastered. proves it can accomplish much more musically than most major label releases. But once you get past the superficial obtuseness, untitled unmastered.
#KENDRICK LAMAR UNTITLED UNMASTERED DATPIFF SERIES#
The title reflects a series of leftovers and throwaways from the TPAB recording sessions. There are no discernible titles besides the dates of performances. And now, a year after the ubiquity and cultural impact To Pimp A Butterfly instilled, he’s returned with a musical statement that is more implicit in nature, but just as dominant and focused as his previous three albums.Įvery component of this release intends to eschew the standards set with Kendrick Lamar releases. No one has come close to being an adversary to Kendrick, and so the period of relative silence leading up to 2015’s masterful To Pimp A Butterfly only furthered the power and aura Kendrick emanated whenever he appeared. But to be honest, he hasn’t really needed to.
Since the infamous verse dropped, he’s maintained a somewhat reserved ferocity in terms of lyrical assault, whether on an album or on stage.
Kendrick Lamar hasn’t rapped like he did on 2013’s “Control”. Review Summary: A year after the ubiquity and cultural impact To Pimp A Butterfly instilled, Kendrick Lamar has returned with a musical statement that is more implicit in nature, but just as dominant and focused as his previous three albums.
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